Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev4b loubinoux
Rev4c balin
Rev4d champonnois
Rev4e quetin
Rev4a preface
Rev4f balbo
Rev4g degott
Rev4h rushton
Rev4i jacobshagen
Rev4j moron
Rev4k vermaelen
Rev4l gier
Rev4 texte

In opera, music « colours » the text and it does so through various means. For example, it can highlight meaningful accents and give the text a sentimental weight. Musical intervals, as well as rhythm, scoring and accompaniment, also contribute to the « colouring » of the text. Any composer who masters these techniques can therefore competently set a dramatic text.

However, personal and recurrent thematic features can be found in operatic production. Mozart seemed to relish the confrontation between elevated and down-to-earth types of mankind ; Offenbach had to cope with the gap between his popular success and his artistic aspiration ; Verdi struggled with the incompatibility between his popular and his learned legacies ; Massenet was torn between his attraction to the powers of seduction and mysticism ; Puccini was interested in the opposition between unlimited and closed, restricted areas, Janáček in the disintegration of personality. In fact, these personal features are more than purly literary. As truly musical themes, quite independent from the texts, they are part of the musicians’inner personality. The composers’ own position to the world and history can thefore be isolated, as well as their relation to their art and to its function. What is expressed in the music is both an aesthetic and a metaphysical attitude. When the text is placed in front of the composer, it becomes adapted to the musician’s poetic world.

We are not, thefore, in a process of « colouring », but in a process of appropriation, the text being used by the composer to clear up any ambiguities generated by the semantic vagueness of the music. It is therefore the text that « colours » the musical intention.

Such an analysis implies the consideration of the composer’s inner personality. It denies any objective claim to the study of the relations between words and music. It is based on the premise that a text is not an object but a dialogue, and that in opera, this dialogue is mediated by the musician before it can actually reach an audience.

Le compositeur face au texte

N° 4 b

Gérard Loubinoux

Université de Clermont-Ferrand

Le texte face au compositeur

Gérard Loubinoux
Gérard Loubinoux - Le texteface au compositeur

Pascal Balin
Pascal Balin - Les sources antiques des Horaces et des Curiaces

Cécile Champonnois
Cécile Champonnois - Les Horaces et les Curiaces

Laurine Quetin
Laurine Quetin - Les Horaces d'Antinio Salieri


Tarcisio Balbo
Tarcisio Balbo - La cosrtuzione dell'intreccio nel dramma permusica del Settecento

Pierre Degott
Pierre Degott - Création, re-création et/ou récréation

Julian Rushton
Julian Rushton - Berlioz, Irlande, and English

Arnold Jacobshagen
Arnold Jacobshagen - Leoncavallo, Wagner und der Historismus

Nicolas Moron
Nicolas Moron - Les origines akkadiennes de Sept, ils sont sept

Denis Vermaelen
Denis Vermaelen - Le rossignol et la mort

Albert Gier
Albert Gier - Der Komponist als Arrangeur